The Ancients about process and change

In this post I discuss some phrases that pivot around the topics process, change, and time, from The History of Western Philosophy by Bertrand Russell (George Allen & Unwin, London, 1961). These topics are interesting in the light of my research that I founded in process ontology. My chosen ontology, what is knowable, is determined by the chosen metaphysics, my assumptions without proof.

Ontological choices are a basis for what you think and do (what you permit yourself), and of particular relevance here, for the theory I develop. They make distinctions from competing ones, and guide your thoughts in some direction, restricting their extension everywhere. Take the assumption that the earth is at the centre of our solar system. Distinct from the heliocentric assumption, it directs our thoughts regarding the movement of celestial bodies. Or take the assumption that people are a primitive, because at a Panglossianistic apex of evolution, and all else is derived, and of derivative importance. This leads to a different view than universal evolution that is indifferent to substrate.

Both initial assumptions tend to unduly allow people an important position, first because they are in a spatial centre, and second because they are the uniquely sophisticated product of evolutionary development, in the chronicle centre as it were. These thoughts are ubiquitous and persistent, and they can be consequential. They are known to go back to the Ancient Greek philosophers in written form and foundational for further thinking.

Another example of such an influential thought is the assumption, very much alive today, that everything is made up of objects and that change is explained from their relations. This is complementary to the thought that process is the pivot and change a primitive. Both strands of thought were developed at the height of Ancient philosophy (the inventive bit according to Russell), but object ontology kept the upper hand for roughly two thousand years (thereby causing a great deal of damage according to Russell).

Anachimander (~546 bc) writes: ‘Into that from which all things take their rise they pass away once more, as is ordained, for they make reparation and satisfaction to one another for their injustice according to the ordering of time‘. This resonates with me, first because it mentions the metaphysical notions of making and erasing differences, and repetition. This description of the entire process of existence as a recursive loop is reminiscent of the Ouroboros. Every outcome (of a step cycle) is necessarily again the beginning of the next one. The meaning of the ‘injustice’, different from its modern understanding) of things is not developed to their full complement: askew from their natural order in time. That is necessarily and causally followed ‘as is ordained’ by the ‘reparation and satisfaction’ of that order. He points out that differences are made and erased at every cycle. New differences again present themselves at every opportunity as long as there is time, what Deleuze (1968) calls differenciation (sic).

The saying πάντα ῥεῖ (panta rhei: everything flows) is attributed to Heraclitus (~540 bc). It is exemplified by the thought that one cannot enter the same river twice. The notion of a river (including its colloquial use) is an abstraction of all the rivers that I can see and where I can take a bath. This notion is of course fortified by the word river to point out this abstraction so as one can mention the word cow to point out the species. Language in this sense tends to objectify phenomena and reinforce linguistically: a river has come to be considered an object instead of a causal process in continual flux defined by change.

Russell writes that: ‘ .. it (the subject matter dpb) is the burning not what burns. ‘What burns’ has disappeared from modern physics‘, when it turned out that matter is exchangeable for energy (p 65). Science seeks what is permanent and it would appear that not the river but the flow is permanent. I wish to mention that this fits with the statement in the Introduction of my PhD thesis that I set out to find a lasting pattern. An ontology that holds that the nature of a river is knowable as an object instead of a flow is bound to generate error. That said this by comparison recent progressive thinking exhibited in physics has not reached every nook and cranny of every obscure scientific discipline.

However, next it has been a source of doubt ever since the Ancients, and he continues to say that: ‘Philosophers, accordingly, have sought with great persistence, for something not subject to the empire of Time. This search begins with Parmenides‘ (p 65). Parmenides (~515 bc), contrary to Heraclitus argues that nothing changes. The unchangeability suggested by Parmenides is the foundation of the notion of indestructibility of substance: ‘A substance was supposed to the persistent subject of varying predicates‘ (p 70). This is a Platonic (aka essentialist) approach also called monism found in many disciplines, including business science. I believe that this is striking, because more than a river, I would consider a business to be in continual flux.

His metaphysics is based on logic and he assumes that words have a constant meaning, which he supposes unquestionable. However Russell writes that: ‘.., no two people who use the same word have just the same thought in their minds‘ (p 68). This statement resonates with me, because individual worldviews differ because of people’s differing life experiences. And in a wider perspective, that the notion of differences as a norm fit reality better than uniqueness. It is, however, distant from Parmenides’ view that nothing changes, as well as from the widely accepted view that it is possible to have identical perceptions of something and to express oneself identically. I believe this is a rare turn of events, especially regarding language, but it is possibly excepted by logic, mathematics and some strands of coding. They are fully symbolic and thereby free of human interpretation: their expression and perception are necessarily identical for different individuals.

According to Empedocles (~494 bc), last the sources of change are Love and Strife. The extent of their presence in substances determines their nature. I associate these conceptualisations respectively with a stable state in phase space that tends to last and attract, and an unstable state in phase space which is bound to repel and end. These counteracting forces are immanent to the observed processes and whether they come to the fore and the extent to which depends on outside influences. This image of naturally conflicting immanent forces is the hallmark of complexity and chaos, and thereby relevant for systems constituted by more than two elements.

This has been a discussion of a few selected phrases from ancient history of what Russell refers to a phase of Ancient Greek philosophy. They were not or hardly pursued during two millennia. Other ideas were selected instead to support the development of philosophy and to direct scientific endeavour. This course of events has moulded our thoughts into patterns beyond change or even discussion. I believe it is important that we are wary of such patterns and the consequences they bear. I believe that the foundational assumptions of some scientific disciplines are weak, because anthropocentric, little connection with modern human neuro-psychological theory, and object orientation. I also believe that some solutions, or at least awareness for the patterns that led to them, have been around for a long time.

Sculptor’s Testament by Rodin

AUGUSTE RODIN
Nov 12, 1840 – Nov 17, 1917
SCULPTOR’S TESTAMENT TO THE YOUNG ARTISTS
(As translated by Paul Schnell)

You young people about to make yourselves beauty’s servants, perhaps it will please you to find here, a résumé of much experience.

Love with devotion the master that preceded you. Bow to Phidias and Michelangelo. Admire the divine gaiety in the one and the savage melancholy in the other. Admiration is the wine of the noble spirit. But guard against imitating your predecessors.While paying attention to the delivery, you must understand the essence of what is eternally fruitful, namely the love of nature and truthfulness. These are the two great passions of all geniuses. All have loved nature without compromise. Acquiring this knowledge will help you avoid affectations. Tradition recommends that you consult with reality and forbids all blind following of any master. Nature is your only goddess, believe in her without reservation and be convinced that she is never ugly, nor will she ever inhibit your ambition to serve her. All is beautiful to the artist, his penetrating gaze discovers the true character of all things and all beings, that is to say, the inner truth that shines through the form and this truth is beauty—and you will meet up with this truth—-work persistently.

You sculptors
, strengthen your sense of spacial depth. The intellect finds it difficult to deal with this concept and stays preoccupied with that which represents the surface. To think of the form in terms of material density is hard, but it is your task. Establish clearly, above all, in the figures you are shaping, the total layout. Emphasize strongly the postures. Every part of the body, head, shoulders, hips and bones declares itself to you. Art demands certainty, only withcertainty of stated lines are you diving into space and taking possession of it. When your composition of the large and whole is firmly in place, you are home free, as your figures are already living. All the rest seems to comply with the whole and details appear to materialize as if by themselves. (‘Quand vos plans sont arrêtés, tout est trouvé. Votre statue vit déjà. Les détails naissent et ils se disposent ensuite d’eux-mêmes’). So when you sculpt, do not think in terms of surface, but rather in terms of space. Let your intellect perceive of every plane as if a mass, where its final appearance is struggling to escape its background. Imagine having it grow upon you by itself. All life emanates from a center, wherefrom it sprouts and spreads from the inside out. It is in this manner that one feels in all good sculpture, a powerful inner strength, that is the secret in ancient art.

You painters,
observe in reality, depth extensions (perspective), the third dimension and look at a painting by Rafael and see how this master, when showing a frontal view of awoman, he lets the breast recede at a slant and thereby creates the illusion of the third dimension. All great painters work spatially. In their knowledge of the spatial lies their strength. Think about the fact that mass, rather than line, tells the story. When you sketch, do not worry about the outlines, but only that which is bodily, the bodily determines the outline. Practice without let up, devote yourself completely to the work. Art is nothing but feeling, but if you don’t know about mass, proportions, color and lack dexterity of hand, all living feeling is for naught. What indeed would become of even the greatest poet in a foreign land, whose language he did not know. Unfortunately, in thenew generation of artists, one finds poets not wanting to learn to speak, which is the reason they can only stutter. Be patient, do not believe in the value of impulse, it does not exist. An artist’s most noble virtues are reflection, care, honesty and willpower. Create your work with straightforward workers. Be truthful, you young people, I don’t mean for you to be exact in a boring way, such as that found in photography and castings. Art begins first and foremost from the inner truth. All your shapes, all your colors, must express feeling. The artist who is content with a superficial likeness and who slavishly reproduces worthless details, will never become a master. When visiting an Italian Campo Santo, you have no doubt seen the childish manner with which the artists entrusted with decorating the graves, busy themselves reproducing literally all garment embroidery, lace and braids worn by the statues. I suppose you can call them exact, but they are not the truth, because they do not point to the soul. Almost all sculpture remind us of Italian cemeteries or the memorials in our public places, where one sees only capes, tables, chairs, machines, balloons and telegraphs. No inner truth, therefore no art. Abhor this kind of rubbish, be truth-loving to the extreme. Do not ever hesitate to express what you feel, despite stepping in opposition to commonly accepted concepts, you may not be understood at first, but fear not being lonely, soon friends will follow you. That which is the deepest truth for one human being, is the same for all. Make no grimaces, no fancy twisting to attract the public. Simplicity and naturalness, the fairest is right before your eyes. Those people you know the best, my very dear and great friend Eugene Carriere, who departed us so early in life, knew in his painterly rendition of his wife and child, that he only had to glorify the maternal love to be exalted.

Masters are those who observe with their own eyes, what the world has seen and by perceiving the beauty in all things—too simple for others to catch sight of. Accept the criticism, you will understand it easily—it is what will make you sure of yourself when torn by doubt. Be not confused by criticism that does not affect your conscience. Fear not unjust criticism—it will upset your friends and force them to reflect on the love they bear you and realize the foundation on which it rests, making them, as a result, more determined to stand by your side. When your talent is at an early stage of development, you will begin to acquire just a few followers, and on the other hand, quite a few enemies. Do not lose courage, the first group will be victorious, because they know why they love you—the others do not know why they hate you. The first is passionately involved with the truth and constantly supplying you with new followers. The others show no durable eagerness for their false opinions—the first is tough, the other go as the wind blows, the truth wins inevitably. Do not waste your time with social or political connections. You will come to see many of your contemporaries, with the help of intrigue, gain fortune and fame, they are not truthful artists. Some of them, in the meantime, are quite worldly clever and if you allow yourself to tangle with them on their territory, you will waste all your life’s energies on this and not have a minute left over for your art. Love with devotion and passion your artistic calling, there is nothing more beautiful. It is more sublime than the common man suspects.

The artist provides a grand example, he loves his work, his pay is the joy he receives from work well done. The world will become a worthwhile place, when all the people in it, have the souls of artists, that is to say, when all enjoy their life’s work. Art is also a wonderful guide to sincerity. The true artist always expresses what he thinks, at the risk of offending all existing prejudices.